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April 17, 1997 - Image 9

Resource type:
Text
Publication:
The Michigan Daily, 1997-04-17

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The Michigan Daily - Thursday, April 17, 1997 -,A

:E

ILM

1IST

first-run films
Chasing Amy Joey Lauren Adams and
,en Affleck star in Kevin Smith's latest
comedy as two comic book artists who
fall in love despite her lesbianism and his
best friend, Jason Lee. At Ann Arbor 1&2:
q12:20 (Friday, Saturday, Sunday and
Tuesday), 2:35 (Friday, Saturday, Sunday
:and Tuesday), 4:50, 7:10, 9:30; at
,Showcase: 11:55, 2:25, 4:50, 7:10,
:35, 11:55.
8 Heads In A Duffel Bag Hit man Joe
Pesci loses his luggage on a cross-coun-
;try noggin delivery trip. David Spade and
-Kristy Swanson help him retrieve the pre-
clous cargo in this dark comedy. At
Showcase: 12:30, 3:00, 5:25, 7:40,
,9:40, 11:45.

films holding

McHale's Navy Tom Arnold takes over
where Ernest Borgnine left off as a
wacky naval officer trying to control his
wacky crew of wacky seamen like David
Alan Grier, Bruce Campbell and French
Stewart. At Briarwood: 12:30, 3:20,
6:40, 9:20; at Showcase: 11:10, 1:45,
4:20, 7:00, 9:30, 11:50.
Murder At 1600 In the third White
House conspiracy thriller in as many
months, Wesley Snipes and Diane Lane
team up and open up a can of whoop-ass
on Pennsylvania Avenue. At Briarwood:
1:40, 4:20, 7:40, 10:15; at Showcase:
12:00, 2:30, 5:00, 7:30, 9:55, 12:20.

Anaconda At Briarwood: 12:20, 2:30,
4:40, 6:50, 9:10; at Showcase: 11:15,
11:45, 1:30, 2:00, 4:15, 4:45, 7:15,
7:45, 9:20, 9:50, 11:40, 12:10.
The Devil's Own At Briarwood: 1:15,
3:45, 7:10, 10:00; at Showcase: 11:40,
2:10, 5:20, 7:55, 10:15, 12:30.
The English Patient At State: 1:00,
4:00, 7:00.
Grosse Pointe Blank At Briarwood: 1:00,
3:30, 7:20, 9:50; at Showcase: 11:35,
2:05, 4:40, 7:35, 10:00, 12:15.
Inventing The Abbots At Showcase:
7:50, 10:10, 12:25.
Jungle 2 Jungle At Showcase: 11:00,
1:10, 3:20, 5:30.
Kolya At Ann Arbor 1&2: 12:40 (Friday,
Saturday, Sunday and Tuesday), 3:00
(Friday, Saturday, Sunday and Tuesday),
7:30.
Liar Liar At Briarwood: 12:50, 3:00,
5:20, 7:30, 9:40; at Showcase: 11:00,
11:30, 1:00, 1:35, 3:10, 3:40, 5:15,
5:45, 7:25, 8:00, 9:25, 10:05, 12:00.
The Saint At Briarwood: 1:30, 4:10,
7:00, 9:30; at Showcase: 11:20, 11:50,
1:55, 2:35, 4:35, 5:05, 7:20, 7:50, 9:45,
10:15, 12:05, 12:35.
Scream At Showcase: 9:15, 11:25; at
State: 9:45, 11:45 (Friday and Saturday
only).

Elisabeth Shue says "cheese" in "The Saint," now playing In
theaters everywhere.

Sling Blade
9:30, 11:45

At State: 1:30, 4:30,
(Friday and Saturday

7:OQ,
only).

That Old Feeling At Showcase: 12:20,
2:40, 4:55, 7:05.
Waiting for Guffman At Ann Arbor 1&2*
5:20, 9:50.
Phone Numbers: Ann Arbor 1 & 2: 761
9700; Briarwood: 480-4555; Michigan
Theater: 668-8397; Showcase: 97-831
and State: 994-4024.
Late shows at Ann Arbor 1 & 2 and State
are for Friday and Saturday only. Matinees
at Ann Arbor 1 & 2 are for Friday, Saturday
and Tuesday only; matinees at State are, fr
Saturday and Sunday only.

het serious with Wesley Snipes, Diane Lane and Daniel Benzali in "Murder At 1600," which opens in theaters this weekend.

..RECORDS
Continued from Page 8A
Amy Rigby
iary of a Mod Housewife
Koch Records
What, exactly, is a mod housewife?
Most simply, mod housewives are con-
spicuously hip middle-aged housewives
who, in Amy
Rigby's own
,words, might be
found at the
supermarket with
their "kid(s) in a
rocery cart /
Ieadphones
blasting Elastica
while (they)
debate the merits
of low-fat granola
bars vs.
Snackwells."
Rigby's debut
album documents
the desires and
anxieties of these
od granola-
unching women
with a heavy shot Amy Rigby poses w
of country. Tinged
with a country twang, Rigby's voice has
a fluttering quality reminiscent of
Victoria Williams. The instrumentation,
along with Rigby's slight Southern
accent, further amplify the country

sound. Pedal steel, dobro and an upbeat
rhythm join in on many of the tracks.
If the word "country" scares you, you
still need not worry with this album.
When thrown together with Rigby's
simple, straightforward lyricism and her
delicate voice, the instruments create an
odd juxtaposition, capturing the minds
of these not-quite-grown-up grown-up
women.
Although some songs, such as "Beer
and Kisses" ("We lived on beer and
kisses / All hopped
up on love and
foam") might turn
a few listeners
away; those who
stay will be
rewarded with
upbeat country
rock on songs like
"20 Questions" in
which Rigby
harangues her hun-
gover, dishonest
lover. Other songs
range from "The
Good Girls,"
detailing the subtle
biases women
experience today,
to the most out-
h her guitar. standing song,
"Knapsack."
On "Knapsack," Rigby's vocals are
accompanied only by her guitar. The
sparse sound and instrumentation cap-
ture Rigby's infatuation and frustration
with her inability to speak to a not-so-

strange stranger with whom she has
only fleeting contact. Every day as she
passes through the door of her favorite
bookstore, he "takes (her) knapsack and
his fingers brush (her) wrist." In spite of
her desire, Rigby is never able to speak.
Since its release, "Diary of a Mod
Housewife" has been met with nothing
but critical success. Although the
Village Voice recently voted "Diary" to
be one of the top 10 albums of the year,
she has yet to meet with much popular
success. Among the flood of plastic
angst and melodrama that's been satu-
rating ears lately, "Diary of a Mod
Housewife" offers a genuine and
refreshing sound.
-Ed Jung
Longpigs
The Sun is Often Out
Mother Records
1996 represented the collapse of the
"Brit-pop" scene and little (if any at all)
output from the top bands in the current
British music scene. However, 1997 has
already seen fantastic new albums from
Blur and Gene and one more band
should be added to this list - the
Longpigs. The release of their debut
album, "The Sun is Often Out;' is
marked by a claustrophobic mist
between the emotive vocals of Crispin
Hunt and their capable sensibilities in
the art of songwriting.

The Longpigs are yet another British band out for American bucks.

Stating the influences of Lou Reed
and David Bowie, the Longpigs have
not achieved success through unde-
served hype from the fickle British
press or by jumping on the bandwagon
of any contrived scene (ex. Bis,
Menswear). Rather, they have been toil-
ing around the pubs of London for five
years with little success. This is mainly
due to their contractual obligation to a
fledgling independent record label
which eventually went bankrupt. After
signing to Mother Records, they
released a slew of singles that immedi-
ately drew comparisons to that of the
London Suede and Radiohead.
"The Sun is Often Out" contains six
singles dating back to 1995; therefore,
the album can be viewed more as a

compilation rather than a solitary piece
of work. However, these singles and the
rest of the album shine through due to
the raw energy the band elicits. The
first track and their first single, "Lost
Myself," features the vocals of Hunt as
he screams and yelps in a falsetto
amidst the tense guitarwork from Hunt
and Richard Hawley. This unsettling
feeling continues with the standout
track, "All Hype" The verse is built
around Hunt's tender whispers and
sparse instrumentation and the chorus
suddenly builds through a crescendo of
distorted guitars as Hunt sings, "And
oh for heaven's sake / I needed you
tonight / And never having been / To
countrysides and seas / I understood
the part / But only only one / You've

given up the choice / Why don't you
dig my voice?" Other notable tracks
include "Sally Dances," (an allusion to
the Lou Reed song, "Sally Can't
Dance") and Hunt's Brett Anders n-
like vocals. The final track, "Over Our
Bodies" ends the album on a somber
note reminiscent of Radiohead's "High
and Dry."
After listening to "The Sun is Often
Out," one can't help but realize that the
Longpigs has the potential to reach the
levels of Radiohead or Suede. If the tal-
ented Hunt and Co. can release materi-
al such as this, then they will have no
problem achieving success; they
already have a great debut album under
their belt.
- Philip Son

ith

Take The EasyWay
Out Of College.

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